梵高《公园一角》（COIN DE PARC，纽约苏富比2016）

梵高公园一角 COINDE PARC 纽约苏富比2016.11 成交价277.25万美元

作品介绍

Please note the present work has been requested by the VanGogh Museum for a major exhibition on Van Gogh and Japan to be heldin Amsterdam and Japan in 2017-2018.

Van Gogh’s Coin de parc belongs to a group of drawingsexecuted between July 31 and August 3, 1888, in a burst of intensecreativity which now provides a succinct impression of hisincreasing artistic confidence and ambition. Determined to persuadehis friend John Peter Russell, the Australian painter, to purchaseone of his oils, Van Gogh produced twelve ink drawings based on thecompositions of his most recent and successful paintings and sentthem to Russell in Brittany. The motif of the present work isrelated to an oil painting of early July, Pelouse ensoleillée, butis in fact an original composition, unlike the other elevendrawings in the group. The subject was obviously of somefascination to Van Gogh, who described it to his brother Theo in aletter written around July 5th: “Here is a new subject. A corner ofa garden with clipped shrubs and a weeping tree, and in thebackground some clumps of oleanders. And the lawn just cut withsome long trails of hay drying in the sun, and a little corner ofblue-green sky at the top” (The Complete Letters of Vincent vanGogh, Greenwich, Connecticut, 1959, no. 508). The motif, which wastaken from one of the gardens in the Place Lamartine which Van Goghcould see from the Yellow House, was repeated in two furtherdrawings, one included in a letter to Theo and another which wassent to Émile Bernard. The garden reappeared in a greatlytransformed state two months later in Le Jardin du Poète.

Vincent van Gogh, Pelouse ensoleillée, 1888, oilon canvas, Private Collection

Though Van Gogh admired Russell’s paintings, he also thoughtof him as a potential collector, blessed as he was by independentmeans. As he wrote to Theo on July 31: “I am working hard forRussell, I thought that I would do him a series of drawings aftermy painted studies; I believe that he will look upon them kindly,and that, at least I hope so, will bring him to make a deal ... Ifwe prod Russell, perhaps, he will take the Gauguin that you bought,and if there is no other way of helping Gauguin, what should bedone? ... When I write him, sending the drawings, it will of coursebe to urge him to make up his mind. I have eight [drawings] andshall do twelve” (The Complete Letters of Vincent van Gogh,op.cit., no. 516). Ronald Pickvance has described this group ofdrawings in the following words: “The twelve drawings for Russellalso display stylistic characteristics distinct from the Bernardset. They are executed less hastily; as well as being morefinished, they are more stylized. The major distinction lies in theprevalent use of the dot. Dots infest and overrun every sky; theyalso articulate the background and facial modelling in two drawingsof heads” (R. Pickvance in Vincent van Gogh Drawings, Milan, 1990,p. 232).

Vincent van Gogh, Tree Trunks in the Grass,1890, oil on canvas, Rijkmuseum, Kröller-Müller,Otterlo

In Coin de parc, Van Gogh’s wonderfully varied use ofindicative pen strokes gives the drawing a greater sense of controland concision. The broad expanse of lawn in the horizontalcompositions is defined by the braided forms of the cut grasswhereas in the vertical drawing the space between the trees issuggested predominantly by scattered vertical strokes and dots. Thebushes and trees are created through dense patterns ofnon-naturalistic strokes of the reed pen, varied in tone to definethe spatial relationship of the branches. The trees on the rightcast dense shadows indicating that the oil painting must have beenpainted at a different time of day. Even the upward slopingsignature, painstakingly fitted in between blades of grass in thebottom left-hand corner, partakes of the delicate precision thatcharacterizes this exceptional drawing.

The present work remained with John Peter Russell until 1920,when the work was consigned to auction by his son-in-law PaulJouve, in order to raise funds for his return to Australia. Thedrawing was subsequently acquired by the Austro-American filmmakerJoseph von Sternberg, whose remarkable collection of modernpaintings, drawings and sculpture was sold in 1949 at Parke Bernetin New York. Coin de parc was purchased from that sale by RudolfSieber, the husband of screen siren MarleneDietrich.

The authenticity of this work has been confirmed by the VanGogh Museum, Amsterdam.

作品细节

梵高公园一角 COIN DE PARC 局部

梵高公园一角 COINDE PARC 局部

画家简介

文森特·威廉·梵·高(Vincent Willem vanGogh，或译为“梵高”、"梵谷"，1853-1890)，荷兰后印象派画家。出生于新教牧师家庭，是后印象主义的先驱，并深深地影响了二十世纪艺术，尤其是野兽派与表现主义。梵高早期受荷兰画家马蒂斯·玛丽斯的影响以灰暗色系进行创作，直到他搬往巴黎与作为画商的弟弟同住，接触了当时震动了整个巴黎美术界的画家们，画风渐渐被印象派的画家影响，后来经过长期的野外写生，色调渐渐由灰暗色系变为明亮色系。1890年7月，梵高在麦田里中开枪自杀（亦有说他杀或误杀），年仅37岁。梵高一生中共画了864张油画，1037张素描，150张水彩画，他的水彩画亦十分出众，和油画不分上下。他个人独爱肖像画，一生中画过35幅自画像，11幅向日葵，4幅覆盖在以前的练习画上，7幅在习作的背面，7幅在纸板上画的。在他去世之后，他的作品跻身于全球最着名最珍贵的艺术作品的行列。梵高的作品大部分收藏于阿姆斯特丹的梵高博物馆（VanGogh Museum）和奥特洛的克罗-米勒博物馆（KRÖLLER-MÜLLER MUSEUM）。

作品资料

COIN DE PARC

Estimate 1,500,000 — 2,000,000 USD

LOT SOLD. 2,772,500USD

Signed Vincent (lower left)

Reed pen and ink with traces of pencil on paper

12 1/2 by 9 1/2 in.

31.7 by 24.2 cm

Executed in Arles in 1888.

IMPRESSIONIST & MODERN ART EVENING SALE

14 NOVEMBER 2016 | 7:00 PM EST

NEW YORK

PROVENANCE

John Russell, Belle-Ile-en Mer (acquired from the artist in1888 and sold: Hôtel Drouot, Paris, March 31, 1920, lot 65)

Galerie Le Garrec, Paris

Kunsthandel d’Audretsch, The Hague

Galerie Lutz, Berlin

Sale: Amsler & Ruthardt, Berlin, (Sammlung D.L.), October29, 1925, lot 247

Galerie Van Diemen, Berlin

Thannhauser Galleries, New York

Josef von Sternberg, Hollywood (and sold: Parke-BernetGalleries, Inc., New York, November 22, 1949, lot 28)

Rudolf Sieber, California (acquired at the above sale)

Josef von Sternberg, Hollywood

Walter Feilchenfeldt, Zürich (acquired from the above in1963)

Wildenstein & Co. Inc., New York (acquired at the above in1965)

Audrey Sheldon, New York (and sold by the Estate: Christie's,New York, October 22, 1980, lot 328)

Private Collection, New York (acquired at the above sale andsold: Sotheby’s, New York, November 6, 1991, lot 12)

Private Collection, New York

Sale: Sotheby's, London, June 27, 1995, lot 10

Acquired at the above sale by the present owner

展览历史

Hamburg, Galerie Commeter, Französische Malerie des 19, und 20Jahrhunderts, 1927, no. 53

Los Angeles, Los Angeles County Museum of Art, Exhibition ofthe von Sternberg Collection, 1935

Los Angeles, Los Angeles County Museum of Art, The Collectionof Josef von Sternberg, 1943, no. 164, illustrated in thecatalogue

Chicago, The Arts Club of Chicago, Exhibition of Paintings andDrawings from the Josef von Sternberg Collection, November 1946,no. 35

New York, Wildenstein & Co, Inc., From Bosch to Klee,1974, n.n. (listed as drawing 23795)

Cleveland, Cleveland Museum of Art; New Brunswick, New Jersey,Rutgers University Art Gallery & Baltimore, The Walters ArtGallery, Japonisme: Japanese Influence on French Art, 1854-1910,1975-76, no. 192, illustrated in the catalogue

New York, The Metropolitan Museum of Art, Van Gogh in Arles,1984, no. 79, illustrated in color in the catalogue

Martigny, Switzerland, Fondation Pierre Gianadda, Van Gogh,2000, no. 67, illustrated in color in the catalogue (titled Jardinà l'arbre pleureur)

Amsterdam, Van Gogh Museum & New York, The MetropolitanMuseum of Art, Van Gogh, Master Draughtsman, 2005, no. 116,illustrated in color in the catalogue (titled A Corner of a Gardenin Place Lamartine)

London, Royal Academy of Arts, The Real Van Gogh: The Artistand his Letters, 2010, no. 102, illustrated in color in thecatalogue (titled A Corner of a Garden in the PlaceLamartine)